Before Post-Modernism emerged in the 1960s, art critics approached tribal arts from a purely formalist approach, that is, responding only to the visual elements of the work and disregarding historical and cultural context, symbolism, or the artist's intention. In the second half of the 20th century, however, the perception of tribal arts has become less paternalistic, as indigenous and non-indigenous advocates have struggled for more objective scholarship of tribal art. Rather, these objects were seen as artifacts and cultural products of "exotic" or "primitive" cultures, as is still the case with ethnographic collections.
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In the 19th century, non-Western art was not seen by mainstream Western art professionals as being art at all. Oceanic art, originating notably from Australia, Melanesia, New Zealand, and Polynesia.Ĭollection of tribal arts has historically been inspired by the Western myth of the " noble savage", and lack of cultural context has been a challenge with the Western mainstream public's perception of tribal arts.African art, especially arts of Sub-Saharan Africa.In museum collections, tribal art has three primary categories: Typically originating in rural areas, tribal art refers to the subject and craftsmanship of artifacts from tribal cultures.
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Tribal art is often ceremonial or religious in nature. The instrument is used in the chants of indigenous epics. A kulintang crafted by the Maranao people of Lanao.